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A Manual for Schools and Self Instruction. 


§cier)ce ^r)d Jgpt of Hfpitir)^. 


E. H, ROUDEBUSH, 

Author of The Roudebush Writing System. 

3 % 

jov'f - 

1893 . 

COPYKIGHTED. 


' 0 > : CO.v,,,' 

'<^g 0?Yrig ^ '-O' \ 

ESEP 15 1893 J 

1% ,^\y 

3 7 i~}<ry 


Topeka, Kansas. 

THE ROUDEBUSH PUBLISHING COMPANY. 


I o 









True ease in writing- comes from art, not chance .—Alexander Pope. 






PREFACE. 

It has been our purpose to make a complete system for teaching and 
learning to write. Every feature was carefully worked out and thorough¬ 
ly tested in the school-room. 

The scheme or method of practice as we outline it in our Portfolio 
Writing Books is based on two special features, viz; Practice on loose 
paper in a systematic way convenient to both teacher and pupils, and 
individual instruction and advancement , systematic and convenient. 

Aside from these features we felt the necessity for a better method 
of analysis to portray the form and aid in the execution of that form. 
This was an onerous task. For a long time our efforts were confined to 
trying to improve other methods but the more we tried this the more we 
saw the necessity of abandoning all other methods as not being based on 
the correct principles, and depending wholly on ourselves to devise a 
complete analytical method that has meaning and, hence, educational 
features connected with it. 

The analysis is so presented by charts and words that the teacher 
or pupil may easily study out the correct formation. The verbal analysis 
is based on principles and separates the letters into all their essential ele¬ 
ments and names these elements so that teacher and pupils may commun¬ 
icate intelligently about them in constructing forms or in correcting faults. 

Without wishing to appear dogmatic, we claim to be the author of 
the only complete and successful system of learning to write, when placed 
in the hands of the teachers and pupils of the public schools, and that 
we have made the first systematic effort to solve the problem of learning 
to write without the use of the copy-book. 

We further claim that any special or professional teacher of penman¬ 
ship can make much more rapid progress by using our system in connec¬ 
tion with his own individual methods of teaching. 

Teachers will be well repaid if on beginning the use of our system, 
they studv the scheme carefully and then commence the work in the 
simplest manner. If the directions are closely followed by teachers and 
pupils the true inspiration of teaching and learning to write will follow 
and the results will be remarkable when compared with the old methods. 
For evidence of this, see testimonials at the end of this book. 


4 


PREFACE. 


The central idea in devising the whole scheme was to prepare a plan 
for convenient, individual instruction and advancement, that would be¬ 
come more and more intelligent and interesting by its close and continu¬ 
ed use. This arrangement has proven to be the very best for class drill 
and instruction also, but the individual plan is much more interesting 
and effective. 

The course as arranged and explained is extensive enough to give 
daily practice through the school life, even through the high school, and 
at the same time maintain a growing interest and efficiency in the useful 
and beautiful art of writing. 

We have made some revisions since our first book was published but 
the changes were made, wholly, in the interests of the public. 

At present our publication consists of a three-book series of Port¬ 
folio Writing Books: Primary, Intermediate and Advanced—on the backs 
of which are instructions, that, when read consecutively from Primary to 
Advanced, and followed closely not allowing any other unsafe ideas to be 
considered, will produce results satisfactory to all. It will also be notic¬ 
ed that our word analysis has been revised slightly. 

We are indebted to many school-boards and teachers for the adop¬ 
tion and honest trial of what, at first, may have seemed an innovation 
or novelty in teaching writing. 

Especially are we very greatly indebted to the Topeka Board of Edu¬ 
cation, for promptly deciding on the adoption of our system as soon as 
it was published. 


Topeka Kan., June 5,1893- 


To Whom it Mat Concern: 

We adopted the Roudebush Writing System three years ago; it bas proven to be all 
that its authois claim for it. It grows in favor with teachers, pupils and patrons. It secures better 
teaching ana more interest and greater proficiency on the part of pupils than any other system. 
We are well pleased with it because its use obtains good results and because it is the most economical. 

Signed by Borad of Education, Topeka. 

W. M. Davidson, Superintendent. 


R. B. Welch, President of the Board. 



CONTENTS 


PAGE 

Introduction . 6 

Analytical Charts . 8—9 

Small Letter Principles and—Extensions . 19 

Verbal Analysis .. 11—17 

Small Letter Chart . 12—83 

Capital Principles . 15 

Distinguishing Features ... 16 

Capital Letter Chart . 18 

Shading—Spacing . 21 

Analysis for Writing—Counts—Small Letters . 22 

Capitals—Count . 23 

Writing to Music . 23 

Resultants . 24 

General Instructions—Material—Position—Penholding—Practice . 26 

Exercises—The Course—Individual Plan . 27 

Practice Sheet . 28 

Specimen Sheets—Specimens .. ,. 29—30 

Free Movement—Fourth Degree . 81 

Exercise Chart . 32 

Movement ..*— 34 

Chart of Penholding and Movement . 35 

Fifth Degree _ 's- . 37 

Specimen of Fifth Degree Writing . 38 

Review . 39—41 

To the Teacher . 42 

Position and Movement Exercises . 45 

Writing Period . 47 

Counting—Signals—Sheets . 49 

Practice Sheet . 60 

Alphabetical Chart . 61 

Portfolio Writing Books . 62 


































INTRODUCTION. 


WRITING is the expression of thoughts for reading. 

There are two methods of writing, one by the use of type and the 
other by the use of a pen or pencil. 

The method of writing by type is termed printing and the form of 
letters most commonly used is called print. 

The method of writing with a pen is generally termed writing or 
penmanship and the form of letters used is called script. 

Print is the basis for scrip and every special characteristic in print- 
letters may be observed in script-letters, but print has been so modified 
with special reference to systematic, continuous movement in execution 
with a pen, that these special characteristics seem to be almost worked 
out of some of the letters. 

Print is modified in three ways to form script, by slant , by connec¬ 
tive and by systemization. 

Slant is the natural tendency arising from writing from left to right 
with the right hand. Connective is the natural result of much writing as 
it is easier to keep the pen on the paper throughout a word than it is to 
raise it for each letter. Systejnization is based on three things, first to 
adapt the form to the slant and the connective, second, in behalf of an 
easy, regular movement and third, with reference to a pleasing effect. In 
all this systemization one thing, legibility , had to be watchfully guarded. 

Three styles of writing have been devised, viz: the Round hand, the 
Angular hand and the Spencerian style. 

The Round Hand was very legible but could not stand the test of 
rapid writing. The Angular Hand was capable of rapidity of execution 
but could not stand the test of legibility. The Spencerian Style which is 
now used by all authors and teachers as standard style is a mean between 
the other two and has stood, and will stand the test of both legibility and 
rapidity , also the test ot pleasing. 

Our system of teaching form and obtaining results is original with us, 
but beyond a few slight changes which we considered necessary in behalf 
of system, the forms and results are essentially Spencerian in style. 

The following Analytical Chart is given to illustrate the evolution of 
finished standard script from print, the print being omitted. The real 
letters are the finished letters shorn of all their secondary elements leav¬ 
ing only the primary elements, and resembling the print-letters. 


INTRODUCTION. 


7 


The Course is divided into close-movement and free-movement divisions. 
Penholding and position must receive constant attention in both divisions, 
but special attention is given to form in the close-movement division, and 
to movement in the free-movement division. For convenience to the 
teacher and fairness to the pupil in locating his work in the course, it is 
divided into five degrees, referring to the pupils ability lo write. The 
first, second and third degrees come under the first division. 

Part I of this book is devoted to the close-movement division, the 
special features of which is the study of form and the analysis of the let¬ 
ters into strokes to be written to time counted or marked by an instru¬ 
ment. No so-called movement exercises are to be introduced in this di¬ 
vision, as the practice on figures, letters and words in the order and by 
the plan outlined in the course is all that is necessary to make good, prac¬ 
tical writers. Practice should bear directly on mastering one exercise by 
writing it in solid page, before taking up another exercise. 

Part II is devoted to an explanation of free movement, to suggestions 
about the study of writing, with reference to adopting an individual and, 
to a discussion of movement. It includes the fourth and fifth degrees 
of the course. 

Part III is devoted to special instruction to teachers using The 
Roudebush Writing System with the Portfolio Writing Books. 

The division of the work in degrees is based on the thought that there 
should be some means by which individual pupils or classes may be limit¬ 
ed to certain phases ot the work, in the order that is best adapted to the 
ultimate mastery of the subject. 

The first and second degrees may be considered the first stage in 
learning to write; only the small letters are required in this stage. The 
third degree is a complete course within itself and if well learned may be 
all that is necessary in the public schools; for careful drill and practice, 
according to instructions, given in connection with the third degree, will 
result in good writing. 

The fourth degree consists of the same complete course, given in the 
third degree, with the special application of free movement, and the study 
of movement. 

The fifth degree of the course consists of the study of different styles 
and modified forms of writing, and of the practice on difficult or advanced 
practice or movement exercises. In this book, the work of this degree 
is merely suggested as it is not necessary for use in common schools. 


ANALYTICAL CHART 

Finished Letters 

showing their relation to others 




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FINISHED CAPITALS. 




PART I. 


Analysis of Types. 


SMALL LETTERS. 
Principles. 

STANDARD. MODIFIED. 



Compound. 




Extensions. 


a close extension is never longer than the main element 
with which it belongs. 

A free extension is twice as long as the main element 
with which it belongs, and its width is one-fourth its length. 

In the continuity of letters, written in words, a general principle pre¬ 
vails which includes the main element on the main slant and the connect¬ 
ive element an the connective slant joined upward and resting on a base. 
In the letters 7£/, v , o, b, the main element is compound, reverting on the 
main slant up one space, and the connective is horizontal from them, but 
curved down from one-sixth to one-third of a space. This prevailing 
principle has three forms known as the ist principle , found in twenty let¬ 
ters, 2nd principle , found in nine letters and the jd principle found in six 
letters. The main element is, theoretically, a straight line on the main 
slant in all the principles. 

In the ist principle., the connective element curves down and toward 
the main element and the joining is a close turn. In the 2nd principle , 
Jthe connective element curves up and from the main element and the 
joining is a free turn. 

ISote:—A ll free turns in small letters are short tu ns. 

In the jd principle ', the connective element is the same as in the 2 nd 
principle but the joining is a close turn, made by the pen stopping and 
moving slightly leftward at the top of the main element. 


























VERBAL ANALYSIS. 


li 


Standard Principles are one space high and one space wide at the base. 
There are four modified principles that measure differently; they are found 
in e, p, r and k. 

The lower part of a principle is its base, the upper part is its apex. 

An Extension is the continuance of the main element beyond the limits 
of a principle. 

Extensions are up, down or sideward and are close or free. 

A Close Extension is one in which the trace or retrace is made closely 
in the line of the extension. 

A Free Extension is one in which the trace or retrace comes a little to 
one side of the extension and causes a loop. 

A Special Mark is some distinctive feature not found in a principle or 
extension. 

Note:—A special mark is found in the principle for r. 

A Final Element is used only to finish the last letter in a word or a 
letter practiced singly. 


VERBAL ANALYSIS. 

Only true letters are analyzed. Stiictiy speaking, the fi. al element belongs to the last letter 
of a woid where it is used to give a finished appearance but it should be used when practicing letters 
si! gly. As standard principles are all one space high and wide, only the measurement of modified 
principles is mentioned. 

The e ercises are numbered. All letters and words in italics are practice exercises. The 
specimens are termed specimen exercises. For further instruction see General Instruction. 

Note:— For the script letters refer to the charts. 

FIRST LESSON. 

i. / has the ist principle and a special mark, a dot, on a line with 
the main element and one space above it. 2. x has the 2nd principle 
and a special mark, a cross on the middle of the main element, on such 
a slant as to measure one third space above and below between its ex¬ 
tremities and the main element. 3. c has the 3rd principle and a special 
mark, a dot-hook made rightward and downward of a space from the 
apex or top of the principle. 

SECOND LESSON. 

4. u has the ist principle twice. 5 . n has the 2nd principle twice. 
6 . m has the 2nd principle three times. 7 . cum , minx; cumin. 

8. First Specimen— in min mix cum, minim minx cumin; minium 
minimum mimic mucic. 

THIRD LESSON. 

9. e has the ist principle one third space high and a free extension 
up two-thirds of a space. 10. a has the 3d principle with a close exten¬ 
sion rightward one space from the apex, and the ist principle. 11. man, 


mine; annex. 



SMALL LETTER CHART. 







































VERBAL ANALYSIS. 


13 


12. Second Specimen —me an am aim ice ace, nine mine mice mince 
came; annex maximum acme. 

13. Group Specimen —Select words from the first and second speci¬ 
mens and write them alternately. 

FOURTH LESSON. 

14. t has the 1st principle with a close extension up one space and a 
special mark, a cross one space long on the middle of the extension one- 
third on the left and two-thirds on the right. 15. d has the 3d principle 
as in a, and the 1st principle as in t. 16. tax , time\ dance. 

17. Third Specimen —tin ten and end tax, time dime amid; taxed 
mind dance demand meditate immediate adduce. 

FIFTH LESSON 

18—Final t has the 1st principle two spaces high and a compound 
curve, horizontal element one space long from a point one space up. This 
element serves for a special mark, a cross, and the final element. 19. p 
has the 1st principle two spaces high with a close extension down one 
space and a half, and the 2nd principle. 20. pat , pint; cement. 

21. Fourth Specimen —it ant pit put pad, pint cent paid dupe; an¬ 
cient cement painted patented anticipate ante-date. 

22. Group Specimen —Select words and write them alternately from 
the four preceding specimens. 

SIXTH LESSON 

23. I has the 1st principle with a free extension up two spaces. 24. h 
has the first principle as in 1, and the 2nd principle. 25'. him , lance; head. 

26. Fifth Specimen— lin him lid all ill, hence lance lain hide head 
laid lead hall; humane enhance headland, alliance all hail. 

SEVENTH LESSON. 

27 j has the 1st principle with a free extension down two spaces and 
a special mark, a dot, as the one over i. 28. y has the 2nd principle, 
and the 1st principle as in j. 29. g has the 3d principle as in a, and the 
1st principle as in j. 30. gun , cage; caught. 

31. Sixth Specimen —aye age gay jay, cage aught caddy city candy 
judge; audacity augment authenticity calling immediately. 

32. Group Specimen —As before—from the six preceding specimens. 

EIGHTH LESSON. 

33. s has the 1st principle with a close extension up one-fourth space 
on connective slant, and a close extension leftward across the base one- 
half space and up one-fourth space. 34. r has the 1st principle, one and 
one-fourth space high and one and one-fourth space wide. It is modified 
on account of a special mark, a horizontal mark in the main element one- 


14 


SCIENCE AND ART OF WRITING. 


fourth space rightward, made from a point one space high. 35. sir, sire; 
rinse. 

36. Seventh Specimen —sir say rag, rise sire mire rinse stay string; 
■stratagem sprightly jurisprudence. 

NINTH LESSON. 

37. w has the first principle twice, the second one having a com¬ 
pound main element. 38. v has the 2nd principle, the main element being 
compound. 39. has the 3d principle, the main element being compound* 

40. vow, wave; roses or. 

41. Eighth Specimen —we vow vie oil, wave will vein rose vail; ave¬ 
nue having weaving slavish groundless. 

42. Group Specimen —Select and write a page of words from the 
eight preceding specimens. 

TENTH LESSON. 

43. b has the 1st principle with a free extension up two spaces, the 
main element being compound. 44. k has the first principle as in 1 and 
the 2nd principle one and one-fourth space higji and one-half space wide 
at the base, the connective element being compound. 45. ken, bake; 
blight. 

46. Ninth Specimen —bin ben cab ink, bake know king bring blow 
blight; knowing blowing kingly rose-bush. 

ELEVENTH LESSON. 

47. f has the 1st principle with a free extension up two spaces and a 
free, compound extension down two spaces. 48. z has the 2nd principle, 
a special mark rightward one-third space from the base, and a free ex¬ 
tension down two spaces. 49. q has the 3d principle as in a, and the 1st 
principle with extension down as in f. 50. fun , fame; quiz. 

51. Tenth Specimen —if fun adz, fame quiz; famine fife zone blaze 
quaint fork freeze fifty frenzy quarter fingers reference freemovement. 

52. Group Specimen —Select words from all the preceding specimens 
and write a page. 


Analysis of Types. 

CAPITALS. 

Elements—Strokes—Principles. 

4 PRIMARY. S 6 SKCONDARY. 7 , 


There are three kinds of elements in capitals, viz: main stroke, oval 
stroke, and curved stroke. 

A Main Stroke is an element on the main slant, which follows a straight 
line very closely, being modified only by sli ght curves at the top or 
base. 

An Oval Stroke is an oval or a definite part of an oval. 

A Curved Stroke is an element that curves but can not be distinguished 
as a definite part of an oval. 

A Capital Principle consists of two simple elements in type, but in ex¬ 
ecution, it is one compound stroke. The capital principles are termed 
4th, 5th, 6th and 7th principles. 

Note.—T hese names are 1st. 2nd, 3d and 4th In our former analysis. 

With reference to use, strokes are primary and secondary. 

A Primary Stroke or Element is one which is found in a real letter. 

A Secondary Stroke or Element is one which is not found in real letters, 
they are joined to the real strokes to give the letters a finished appearance. 

Note—L etters are modified by modifying the secondary strokes. 

The 4th and 5 th principles are the primary principles. The 6th and 
7th are secondary principles. 

The Primary Principles are found in real letters and serve as the basis 
from which the secondary principles are derived. 

The Secondary Principles each have a secondary part, not found in real 
letters. 

The 4 th Principle is a compound main stroke much like the compound 
main element of the 2nd principle, but three spaces high, and one space 
wide at the top. The two parts are joined by a free, short turn. 

The 5 th Principle is a compound oval stroke much like the compound 
main element of the 3d principle, but it is three times as high and four 
times as wide, hence it is more oval. It has the same characteristic with 




16 


SCIENCE AND ART OF WRITING. 


regard to the pen, first moving leftward at the top. It consists of two 
simple parts joined at the top and bottom by free, oval turns. 

The 6th Principle consists of an oval element and a main element 
joined at the top in a free, oval turn and open at the base one-half space. 
This principle may be considered a large 2nd principle one-half* as wide 
at the base, three times as wide at mid height and three times as high. 
The oval element is a secondary element because in the letters in 
which this principle is used the oval element is not essential to a letter. 

The 7 th Principle is a main element like the upward element of the 4th 
principle, but made downward with a final oval leftward. The final oval 
is a secondary element because it is not essential to the formation of 
any letter. 

Each principle here described has a cognate by reversion. 

DISTINGUISHING FEATURES. 

4 th Principle—Compound main stroke, ^ space wide at mid-height 
and one space wide at ojcening, the two elements being joined by a free, 
short turn. 

5th Principle—Compound oval stroke, two spaces wide at mid-height, 
the two element's being joined by free, oval turns. 

6th Principle—Compound main-and-oval stroke; one and one-half 
space wide at mid-height, the two elements being joined by ‘a free, oval 
turn. 

7 th Principle—Capital stem and final oval made in one compound 
stroke; the principal feature is the final oval, made at an angle of 15 de¬ 
grees, 1^ space wide and about 2 spaces long. 

A Principle may constitute a letter, or two or more principles may be 
joined or combined to form a letter. 

Two principles are joined by means of a turn; two principles are com¬ 
bined by means of a common element. A principle is modified when its 
measurement is not the same as that of a standard principle. A princi¬ 
ple is clipped when a part of one of its elements is omitted. An element 
of a principle is broken when it is made in two parts joined by an angle. 

Beginning strokes and final strokes are secondary strokes not found in 
the principles; they mark the natural path of the pen in passing to or 
from a primary element and are made in such a way as to relieve the 
otherwise bare appearance, and to harmonize with the shape and slant of 
other elements with which they may come in contact. 

The elements of a principle are known as first part and second part , 
as the part is made first or second. The first part of the b 6th, and the 
a 7th, is known as the capital stem . 


VERBAL ANALYSIS. 17 

VERBAL ANALYSIS. 

TWELFTH LESSON. 

53. Whas the 6th principle and the 2nd principle two and one-half 
spaces high, and the final element. 54. M has N, and the 2nd principle 
two spaces high, and the final element. 55. J"ha.s the 6th principle ,one 
space wide and closed at the base, with a free extension down two spaces. 
56. Fhas the 6th and 4th principles combined, the second part of the 
4th is two spaces high. 57. U has the 6th principle and the 1st principle 
as in final t, and the final element. 58. Fhas U with a free extension 
down two spaces, 59. / has the 7th principle preceded by a left-curve 
beginning stroke from the base, made as a free trace of the main element 
or capital stem. 60. S has the ’7th principle preceded by a right-curve 
beginning stroke, first along the slant of the final oval, then up as a free 
trace of the upper half of the capital stem. 61. L has the capital stem 
* preceded by a beginning stroke like the one in S, and a horizontal special 
mark joined by a sharp turn which, made with a free or continuous move¬ 
ment causes a small loop; the special mark terminates like the final ele¬ 
ment. 

62. Eleventh Specimen —Write a page of choice sentences, either 
selected or original, using the capitals of this lesson to begin them. 

THIRTEENTH LESSON. 

63. O has the 5th principle and a final stroke, curved leftward and 
dropped nearly vertical through the middle of the second part of the prin¬ 
ciple. 64. C has the b 7th principle, preceded by a right curve beginning 
stroke, made from a point up one space, as a free trace of the oval stem. 
65. Q has the b 5 th principle and a special mark like the special 
mark of L. 66. Z has the b 5th principle, a special mark rightward one- 
half space, and a free extension down two spaces; the joining at the base 
is a sharp turn, which, executed by a free, continuous movement causes a 
small loop. 

67. Twelfth Specimen —Write a page of sentences using the capitals 
of this lesson to begin them. 

FOURTEENTH LESSON. 

68. D has the capital stem of the b 6th principle, and the second 
part of the 5th principle, joined at the base by an angle which, executed 
by a free movement causes a loop. 69. A has the first part of the 5th 
principle, and the first principle two spaces and a half high, and the final , 
element. 70. G has the 5th principle two-thirds of the size of the standard 
principle, clipped of the upper three-fourths of the second part, the base 
being up one space, and the 7th principle, clipped of the upper half of the 


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VERBAL ANALYSIS. 


19 


stem, joined by a sharp turn, all preceded by a right curve beginning 
stroke made so as to divide both ovals in two equal parts. 71. P has 
the b 6th principle and b 5th principle, clipped of the lower half of the 
second part, combined. 72. R has P and a main stroke, nearly vertical, 
joined by an angle, and the final element. 73. B has the b 6th principle 
and the b 5 th principle with its second part broken at mid-height, and end¬ 
ing in a final oval, the two principles being combined. 

Note— Free movement causes a loop to accompany th3 sharp joining in R and B. 

74. Thirteenth Specimen —Write a page of sentences using the capi¬ 
tals of this lesson to begin them. 

FIFTEENTH LESSON. 

75. T has the short 7th principle and a special mark, a cap, fitted 
over the curve at the top of the principle and extending rightward two 
spaces. 76. J^has T and a special mark at mid-height. 77. Afhas the 
7th principle clipped of one-half space at top, preceded by a right-curve 
beginning stroke, joined at top like the 1st principle, and a main stroke 
one space to the right on which is placed a special mark, beginning up 
one and one-fourth space and made down one-half space, ending in a 
connective or final element. 78. K is like H, but the main element is 
broken leftward at mid-height the joining being an angle which, made 
with free movement causes a loop; and a final element. 79. X has the 
b 5th principle, and the first part of the a 5th principle, made to touch at 
mid-height; and the final element. 80. W has the b 5th principle and the 
b 4th and the a 4th combined, and joined to the 5th in a turn almost 
sharp. 

81. Fourteenth Specimen —Write a page of sentences using the cap¬ 
itals of this lesson. 

SIXTEENTH LESSON. 

Note— Second forms of letters repeated in the course. S9e Capital Lettor Chart. 

82. C, the first letter in the 5th group, has a beginning oval down 
two spaces, to which is joined the first part of the a 5th principle, by oval 
turn; and the final element joined by oval turn. 83. T, the third letter in 
the 8th group, has the b 6th principle extended rightward into a cap over 
the stem. 84. H, the first letter in the 9th group, has two main strokes 
one space apart and the special mark. 10th group—85. A has the 7th 
and b 4th principles combined, both main elements, made from top, and 
a special mark as in H. 86. iFhas the 7th and the 4th principles with 
second part two spaces high, joined at the top. 87. M has A and the 
b 4th principle, joined by short turn, and the final element. 88. IV, the 
third letter in the nth group, has the 6th principle and the two 4th prin- 


20 


SCIENCE and ART OV writing. 


ciples combined and joined to the 6th principle by a short turn. 
89. Make a practice exercise of the first horizontal line of capitals. 90. 
Make a practice exercise of the second line. 91. Make a practice exercise 
of the third line. 

92. Write the capitals in alphabetical order for a specimen, using 
the forms you expect to use in the future. 

Note— Capitals are modified by omitting sacondiry strokes and substituting a dot or an oval. 

93. Sixteenth Specimen— “Poverty is uncomfortable, as I can testi¬ 
fy; but nine times out of ten, the best thing that can happen to a young 
man is to be tossed overboard and compelled to sink or swim for himself. 
In all my acquaintance I never knew a man to be drowned who was worth 
the saving.” 

94. Seventeenth Specimen— “For every grain of wit there is a grain 
of folly. For everything you have missed, you have gained something 
else; and for everything you gain, you lose something. IF the gatherer 
gathers too much, nature takes out of the man what she puts into his 
chest; swells the estate, but kills the owner. Nature hates monopolies 
and exceptions.” 

95. Eighteenth Specimen —“Whether your life shall be successful 
or not is a question which must be answered by yourself alone. It can¬ 
not be done bv proxy. Temperance, frugality, honesty, and economy, 
accompanied by strong determination and perseverance, will bring you 
to the goal of success and prosperity.” 

96. Nineteenth Specimen— “The most trifling actions that affect a 
man’s credit are to be guarded. The sound of your hammer at five in the 
morning or nine at night, heard by a creditor, makes him easy six months 
longer; but if he sees you at a billiard table, or hears your voice at a 
tavern, when you should be at work, he sends for his money the next 
day.” 

Twentieth Specimen. 

97. “Life is too short for any bitter feeling; 

Time is the best avenger, if we wait; 

The years speed by, and on their wings bear healing; 

We have no room for anything like hate. 

This solemn truth the low mounds seem revealing, 

That thick and fast about our feet are stealing, 

Life is too short.” 


SHADING AND SPACING. 


21 


98. Twenty-First Specimen — “A book that is to live with you, to 
be a companion, an instructor, must have something better than polished 
words or well-wrought sentences. It must have thoughts and sentiments 
that touch the head and the heart. Then a book becomes a silent power, 
more and more influential.” 

99. Twenty-Second Specimen —James A. Garfield, R. W. Emerson, 
Samuel Smiles, Benjamin Franklin, Ella Wheeler, Henry Ward Beecher. 

Note—T his specimen Is composed of the names of the authors of ihe specimens from sixteen 
to twenty-one inclusive. 

100. Twenty-Third Specimen-— Write a letter. 

SHADING. 

The shading on strokes requires skill which is acquired only by con¬ 
siderable practice. In this division of the course, it is better to omit all 
shading except where it is needed to cover a loop that may otherwise oc¬ 
cur in an extension. The letters are those of the second group. Shad¬ 
ing, not well done, should be omitted. 

Shading in capitals requires skill, but when acquired, it is a great as¬ 
sistance in execution. It will be noticed that all the shades for capitals 
are on the down-stroke of a principle except one. Practice on the prin¬ 
ciples, observing the following, will make one able to master the letters 
without much trouble. Make the principles in one compound stroke, 
dashing through the shade so as to give an impetus to the pen, that will 
carry it back almost naturally. 

For the shade on the capital stem, bring the pen down as if you in¬ 
tended it to come straight to the base in a blunt shade, this direction and 
shade, abruptly modified by merging into the final oval leftward, results in 
a graceful shade on the joining curve of the two elements. The other 
shades are begun as near the top as possible. 

SPACING. 

Small letters are a space, slightly widened, apart. A small letter be¬ 
gins one-fourth space from a capital beginning a word. Words are 
two spaces apart, i. e. they are disconnected as if one main element were 
omitted between two connective elements. Sentences should be three 
spaces apart. 

Much depends on the spacing. The spacing should be so that the 
words may be distinguished as units, when the page is too far from the 
eye to read, but it should not be so that the words are any farther apart 
than necessary for this purpose. For the sake of appearance and ease 
in writing, the spacing should be uniform. 


Analysis for Writing. 

SMALL LETTERS. 

By Strokes. 

A stroke is one impulse of the pen, and it may be continuous, brok¬ 
en or it may revert; it is simple, complex or compound accordingly. 

In joining strokes written to count, the pen must have a continuous 

movement; the time occupied in making the stroke corresponds to the 
time occupied by the count and the time occupied in making a turn cor¬ 
responds to the interval between the counts. 

Slower count should be made so by longer intervals and not by pro¬ 
longed counts. 

Joinings of strokes are close and free. A close joining causes a sharp 
turn and occurs at the top of the first principle, after compound strokes, 
and in close extensions, and where a second principle follows a principle in 
the same letter. A free joining causes a short turn and occurs at the top 
of the second principle, in free extensions, and where one principle follows 
another, except where a 2nd principle follows a principle in the same letter.' 

The strokes in small letters are connective strokes, main strokes and 
final strokes. 

A connective element, a connective element and a trace of an exten¬ 
sion, or a retrace of an extension and a connective element, is a connective 
stroke. 

A main element, an extension and a main element, or a main element 
and an extension is a main stroke. 

A final element is a final stroke. 

Counts. 

Rule — Connective strokes receive the count one main strokes the 
count two , and final strokes the count three. 

Note— A word may receive as many counts as it has principles as soon as the form of the letters 
have been learned by strokes. A principle represents two strokes. 

CLOSE COUNT. 

1. 2. 3.—i, x, *c, e, t, t, 1, j, *s, *r fv, fo, fb, ff *z. 

1. 2, 1. 2. 3. u, n, a, d, p, h, y, g, w, fk, fq. 

1, 2, 1, 2, 1, 2, 3. m. 

* These letters may receive the count 2. 2. for the main stroke broken or for dot and main 
stroke, when first learning, but t ie strokes may soon be reduced to the count as above. 

t The compound strokes may receive two counts but they should occupy only as much time as 
one count for simple strokes. For w, v. o, b, the count is indicated by 2 0 and called (two one); for 
k the compound stroke is indicated by 0 2 and Is called (one two). The count one indicated by the 
cipher is very quick. 


WRITING TO TIME. 


23 


CAPITALS. 

Rule — A principle is a compound stroke and receives a heavy count, 
two , on the down-part, and a very light, quick count, one , on the up-part; 
other up-strokes receive the full count, one\ final strokes receive the count 
three. The 7th principle is counted one to place the pen at the top of 
the stem, two, heavy, to make the stem and three to make the final oval. 

The light counts are indicated below by o, cipher , other up strokes 
by 1, one, down strokes by 2, tzuo, and final strokes by 3, three. A com¬ 
ma is placed after each stroke. 


N 

0 2, 1, 

2, 3 - 

M 

0 2, 1, 

2, I, 

J 

0 2, 3. 


V 

1, 2 0. 


U 

0 2, 1, 

2, 3 - 

Y 

0 2, 1, 

2, 3 - 

I 

h 2 3. 


S 

b 2 3 - 


L 

b 2, 3. 


0 

1, 2 0, 

3 - 

C 

1, 2 0, 

3 - 

E 

r, 2, 2 

0, 3 - 

C 

1, 2 0, 

2 3 - 

Q 

0 2, 3. 


z 

0 2, 2, 

3 - 

A 

1, 2 0, 

2, 3. 

D 

1, 2, 1 

» 3 - 

G 

1, 2 0, 

2 3 * 

P 

I, 2 O, 

2. 

R 

I, 2 O, 

2) 2, 

B 

I, 2 O, 

2, 2 


CLOSE COUNT. 

T 1, 2 3, 

1, 2 o, 3. 

F 1, 2 3, 

T 2 0, 3, 

1, 2. 

T I, 2 o, 3. 

H 1, 2 3, 

1, 2, 

I ) 2, 3. 

K 1, 2 3, 

1, 2, 2, 3. 

A 1, 2 3, 

I, 2, 

E 2,3. 

N 1, 2 3, 

1,20, 

M 1, 2 3, 

1, 2 o, 2, 3. 

X o 2, 

T 2, 3, 

W o 2, o 2, 1. 
W 1, 2 o, 2 0. 


Placing the pen at the top of a stroke is Ill'll ?ated by the count one. 

2 (emphasized) indicates shade. Shades are executed by a very quick movement. 

In the principles having the capital stem, the shade Is made as low as possible as If the pen were 
to come to the base with a h avy b unt shade. In all others the shade is thrown on as high as pos¬ 
sible. 

WRITING TO MUSIC. 

Nothing is more conducive to good writing with good continuous 
movement, than writing to music. Any march in which the time is easy 
answers the purpose. The down-stroke should be made to the accent. 


JResultants. 

The charts and analysis agree in out-lining a course, in the third 
degree, in which two systems of analysis are presented including small 
letters, capitals, words and sentences. 

The analysis of types explains the form of the letters by using princi¬ 
ples and elements; the analysis for writing divides the letters into strokes 
to be executed to regular time but joined by continuous movement. 

Resultants are those elements that are caused by applying the pen 
with continuous touch in making two elements of fbrm by one stroke or 
in an abrupt change in direction from one element to another. 

In the 3d principle the main element should be considered a straight 
line on the main slant so that the application of movement that first starts 
leftward, may produce the correct result. If this resultant be taken as a 
guide and free movement applied, the result, then, will be too much curve 
which soon tends to break up the system. The main element of this 
principle and the horizontal extention as in the letter a, made by one 
stroke, causes a resultant, a continuous curve, that seems to obliterate 
the main element on the main slant, and the horizantal extension, yet the 
true method of learning is in the effort to make both these, elements by 
one stroke. 

Extensions should be considered straight lines in order that the cor¬ 
rect result may be obtained. In long extensions, free movement causes 
the pen to trace or retrace the extension a little to one side, causing a 
loop; the perceptible element so caused is a resultant or incidental ele¬ 
ment, and the pen, keeping touch on the paper, shows a slight curve near 
the extremity of the extension as a result of moving from the incidental 
element into the main stroke or from the main stroke into the incidental ele¬ 
ment when the effort is to make a straight line, r and z each has a horizon¬ 
tal special mark that comes in the main stroke, which when the two parts 
are made to count 2, 2, in quick succession causes the horizontal element 
to slant, and when the whole stroke is made to the one count 2 the result 
is little more than a noticeable break in the main stroke; this is a result¬ 
ant that cannot be analyzed aud obtained in arty other way. 

Note—I n learning these two letters ,t is better to raise the pen and set it rightward, omitting 
the special mark and counting 2 for each part of the main stroke, then do the same without raising 
the pen, the result will be the form desired. 


RESULTANTS. 


25 


All small loops in capitals are resultants; they occur at all sharp 
turns when one or both of the elements is an oval, except the sharp turn 
in the letter G. 

The loops in the capitals C, I, L, S, are resultants for the same rea¬ 
son that the loops in the small letters are resultants. 

It is a good plan for beginners to omit the resultant by raising the 
pen at the point of origin and placing it at the beginning of the next .ele¬ 
ment or stroke for a few letters then make the same effort by keeping the 
pen on the paper and moving it to quick count, the resultant will be cor¬ 
rect without thought or effort to make it so. In the capitals B, D, E, L, 
Q, R, Z, the pen need not raise as the loop occurs at the joining of two 
elements, but the pen should stop or be controlled by close movement at 
first, then the same thing attempted without stopping, when a loop will 
show as a result and the freer and faster the movement the larger the loop 
will be. 

Loops are resultants and are better learned by thinking only of the 
primary strokes and executing them with free movement, letting the re¬ 
sultant elements take care of themselves as purely incidental or secondary 
elements. 

The application of free, rapid movement causes modification (re¬ 
sultants) of any form-impress; it is, therefore, impossible for a pupil to 
copy rapid writing, and maintain the same in rapid writing. 

The form-impress, on the mind, of any copy must undergo a modi¬ 
fication by practice, and the more rapid the movement, the more modified 
the form will be. The result caused by very rapid movement by some 
excellent penmen, is little more than a scrawl; the cause of this is, that 
his penmanship, carefully learned, was copied from rapid writing, but 
not learned and written as a result of the study of standard form devised 
and explained for execution, with special reference to the application of 
free, rapid movement. A form that has been written for some time, finally 
becomes the form-impress on the mind, but the movement being established 
first, the form does not change. An incorrect form-impress is very often, 
and mostly, the result of considerable practice with incorrect penholding 
or movement, more than it is an incorrect idea of the form to begin with, 
hence, the necessity of individual practice for acquiring each form in 
close movement and afterward applying free, and finally, rapid movement. 


General Instruction. 

MATERIAL. 

The materials or means by which writing is done in school are paper, 
ink and pen or lead-pencil; slate and slate-pencil, and black-board and 
crayon. Any or all of these three sets of material may be used to'ad¬ 
vantage. 

Form is the controlling feature in writing, for if a pupil learns it by 
any of the three ways, he will be able to write it by the others if his 
position and manner of holding the intrument are not so contorted as 
to make it impossible. The form-impress on the mind shows the same, 
whether scratched on a slate by a pin or marked iiuthe sand or snow by 
a walking cane. The touch and manner of manipulating a pen or pencil 
must be learned by using it. 

A pen-holder or pencil should not be slick; if it is, remedy it by wrap¬ 
ping it with a thread. For beginners, thepen should be stiff with a smooth 
point or touch. Ink must not be too thick to flow easily. 

POSITION. 

The position of body, arms and hands in relation to the paper is of 
first importance. Sit with the body free from desk or any contortions of 
the muscles of the body, place both arms on the desk at right angles and 
rest them on the arm-rest , the heavy muscles in front of the elbow, if 
possible. Place The paper straight under the arm and write in lines at 
right angles to the line of the right fore-arm. 

PEN-HOLDING. 

Correct pen-holding consists in holding the pen-holder against the 
fingers by the thumb; incorrect pen-holding consists in holding the pen¬ 
holder against the thumb by the fingers. In correct pen-holding, the 
thumb is bent; in incorrect pen-holding the finger is bent. Unstable pen¬ 
holding is the effort to hold the pen by placing the ends of the thumb and 
finger opposite on the holder; this causes the thumb and finger both to be 
bent, and it is incorrect. The hand should be in a shape as if holding 
an egg with the little end down. The shape of the hand and the pen¬ 
holding must be approximately correct. 

PRACTICE. 

The practice must have a definite aim at all times. Practice one ex¬ 
ercise at a time with reference to mastering it in such a regular man¬ 
ner that the paper on which it is written will present a neat, regular ap¬ 
pearance. 


THE COURSE. 


27 


EXERCISES. 

The regular exercises are practice exercises and specimen exercises. 
With the Verbal Analysis, the exercises are numbered to ioo, the practice 
exercises being printed in italics and the specimen exercises, printed in 
roman and headed, Specimen. 

Practice exercises consist in learning to write all the letters and orie 
word in a specimen, preparatory to attempting the specimen. 

A specimen exercise consists in writing a page of different words or sen¬ 
tences, or all of the letters in alphabetical order, or a page of figures, after 
all letters or figures, found in the specimen have been thoroughly learned 
in the practice exercises preceding the specimen. 

For a system of marking the exerci es and passing pupils from one to another, see instruct! n 
tn Part III. 

THE COURSE. 

The foregoing course, outlined with the Verbal Analysis, numbers 
sixteen lessons, twenty-three specimens and one hundred exercises. The 
words and sentences for specimens are merely suggestive but the rule to 
be strictly followed, is that the order of exercises must.be taken as they 
come and that the specimens must not contain letters not previously 
learned and passed upon by the teacher, for each pupil. It is a good 
idea to give a pupil privilege to compose his own words and sentences so 
long as they show care in their preparation. 

The words, in the small letter course, to the comma are for pupils 
just beginning or for very poor writers; this lowest stage is the first step 
which we designate, first degree. The words to the semicolon is the next 
step which is designated, second degree; the regular course thus far does 
not include the capitals but they may be learned incidentally if needed. 

The words to the period and the capitals and sentence-specimens 
constitute a full course that, when written through in close, analytical 
movement, is the third step which is designated, third degree. 

The application of free movement to this complete course is the 
fourth step which is designated, fourth degree. 

The general study of penmanship and adopting an individual hand 
is the fifth step which we designate.. , fifth degree. 

INDIVIDUAL PLAN. 

There is no other branch in school that can not be well taught so as 
to reach each individual, by the class drill or class instruction, unless it 
be drawing. The teacher may drill the class, in writing, well, yet not 


SCIENCE AND ART OF WRITING. 


28 

reach the individual because he can not see his work. He may pass 
round among the pupils and criticize and teach, but this is purely indi¬ 
vidual instruction and can not have in it any of the advantages of class 
instruction. 

Since writing must be taught individually and since it is executing 
forms with an instrument, and since some learn forms and the use of in¬ 
struments much sooner than others, it is better to have a plan by which 
each individual may take up the course and master it as fast as he can 
without any reference to the advancement of other pupils. 


SECTION OF A PRACTICE SHEET. 


CLOSE MOVEMENT. 



The sheets are distinguished as practice sheets or specimen sheets. 
The above is an illustration of a section of a practice sheet written by a 
pupil, showing how he writes on the lines and inverts the paper and writes 
on them again. The following pages illustrate a word specimen and a 
sentence specimen; these sheets are called specimen sheets. 

See instruction to teachers, Part III. 



•jaqaeaj £q paAoaddB uaq./A qooq-jJBqo jo jpeq ui uampads ana 

qidnd jo a3y '9 *l]dnd jo amB^ 'Q *jbo.£ iooqos 

JO 9pB.t£) *f -SuiJfjOM si [jdnd aqj qaxqM.ui eaaSaa -g 'ajBQ % qooqos jo xmoj jo aurejs! I—‘aOIXON 







-H 

c 

0) 

E 

Q) 

> 

• 0 

0 © 

rj u) 

fl ° 

•H Q 

o V 
0 d) 
ft 2 

111 w> 

<D 

Q 


V 

IE 

H 




PAI^T II. 


3?ree Movement. 

FOURTH DEGREE. 

Taking up free movement here as a special feature and as coming in 
the course after the study of form and learning to write it correctly in a 
systematic, analytical movement, is not meant as an exclusion of practice 
in free movement, while writing the course in close movement, but it does 
mean that this is the order in which work should come. So far as the 
work to be done is concerned it is the same in both divisions, but in the. 
firs'; division the study and execution of form is the leading feature, while 
in the second division the application of free movement to the form al¬ 
ready learned correctly, is the leading feature. The difference is not 
that the pupil is absolutely required to write the course through in close 
movement, and then in free movement, for free movement is the object 
to be attained finally, and no matter how soon any one attains it that can; 
but he is permitted to write it through once in close movement and then 
required to write it again in free movement. 

In the Fourth Degree , free movement is applied to writing standard 
forms. 

Practice exercises are not used as a test but pupils must write whole 
specimens in free movement and maintain systematic form and a neat, 
regular appearance of page. The best way to do this is to practice the 
letters in all their different combinations to make words. So-called move¬ 
ment exercises are of but little help, for many times certain movements 
are learned that become a positive detriment. 

' The Exercise Chart given in this division suggests all that is neces¬ 
sary throughout the course for irregular or drill exercises in move¬ 
ment. These exercises should consist of counting i, 2, 3, 4, for a letter 
repeated four times in continuity, the count being made in time to suit the. 
length of the letter and the proficiency of the pupils, then each count 
may mean one of these groups or a word repeated several times, as 1, 2, 
3, 4 for writing the word mine, mine, mine, mine, four times. The one 
who counts should write at the same time. 

Note—D ot the i’s after writing the four wcrJs. 











































































SMALL-LETTER CHART. 

DIVISIONS 



















































34 SCIENCE AND ART OP WRITING. 

The writing, should never be so fast that the pupil cannot make-cor¬ 
rect form and neat work. In drill on capitals, the count may be r, 2, 3, 
4, for a capital repeated four times. 

When it is found that any one cannot write a certain exercise in free 
movement, as indicated by the free count,.he should at once begin the 
study and practice of it to close count which allows him more opportuni¬ 
ty for getting the correct form because he can use close, analytical move- 
movement. 

Our advice is, require no one, beginning to learn to write a sys¬ 
tematic hand, to practice and write his exercises in free movement, for 
if the close movement be learned by stroke to time and the pupil writes 
the full course in this way, free movement must be the inevitable result 
of much practice. 

MOVEME >iT. 

This much mooted question among penmen has but little to do with 
learning to write, for as we have intimated in other places, correct pen¬ 
holding, correct position and correct form insures correct movement. 
Form and movement, each go with the other and when one is right, 
with the attending conditions right, the other must be right also. 
Practicing on a certain form can not be done without exercising certain 
muscles, whsn the conditio is are in a certain way; and hence the more 
a certain form is practiced when the conditions of pen-holding, position 
and manner of movement are correct the better the certain muscles 
used, become trained to the execution of the certain form, and all the 
forms well learned insures correct movement for writing. 

What can be the meaning of this expression which we often hear from 
the lips of penmen? “He has good movement but he can’t write well.” 
The only movement that can be good movement is the movement used in 
making good writing. Good movement can not be taught, but it can be 
developed or acquired by practice on correct form. The pupil must not 
attempt anything very difficult, but proceed, step by step, from the very 
easy to the very difficult. If he can not make words, let him make single 
letters, and if he can not make letters, let him make the figure 1, one , or 
o, cipher , or 4, four , and if he can not do this and hold his pen correctly, 
let him make dots, until he gets started and then proceed from the easy 
to the more difficult as fast as possible. 

As to kind, movement is finger movement, hand movement and arm 
movement. As to manner, movement is close movement or free move¬ 
ment. 




I 


/ 
















































































































36 


SCIENCE AND ART OF WRITING. 


Any of these movements may be correct or incorrect; if incorrect 
the form will be incorrect and vice versa . 

Finger Movement is the movement of the fingers only to direct the course 
of the pen. 

Hand Movement is the movement of the hand, as a unit, to direct the 
course of the peft. 

Arm Movement is the movement of the arm, as a unit, to direct the 
course of the pen. 

Correct finger movement is mostly a straight action of the fingers up 
and down on the main slant and it must be accompanied by the hand 
movement, otherwise nothing but a straight mark would be the result. 

Correct hand movement is the movement of the hand with the pen, 
as a unit, in executing all latteral and curved strokes, or entire capitals. 
It must be accompanied by a corresponding movement of the fore arm 
from the elbow. 

Correct arm movement is the movement of the whole arm to exe¬ 
cute all forms. 

The best kind of movement is the combination of these three move¬ 
ments, which the pupil will naturally acquire, when the course of instruc¬ 
tion and practice is followed as laid down; but pupils may be assisted 
by the use of the foregoing terms in explanation of the different 
movements. 

Note -Arm movement may be with arm resting on the arm rest or with arm clear from the 

desk. 

Close Movement is directing the pen by effort and is used in executing 
form while studying it. Sharp turns and close extensions are results 
of close movement. 

Free Movement is directing the pen without any apparent effort, and is 
used in writing words and capitals after the forms have been well learned. 
Short turns, oval turns and loops are results of free movement. 

Close movement should be by strokes; it should not be by drawing 
the lines slowly except by small children that are required to learn to 
write in a few weeks. 

In free movement, letters or words are comprehended as units. 

Muscular movement is that action in which the heavy muscles 
in front of the elbow is trained to bear all the weight of the arm and 
hand and direct all the movements of the pen, in short do all the work of 
writing, except to hold the pen loosely in the hand. 


CHOOSING AN INDIVIDUAL HAND. 


37 


FIFTH DEGREE. 

This division is s£t apart for advanced penmanship of all kinds, but 
as the province of this book does not extend beyond practical writing, 
only such instructions as pertain to the advanced study and practice of 
business writing are given. 

Choosing an Individual Hand.— Every person should be granted 
the privilege of writing a hand that he would rather write than any other, 
but in his selection he should be careful as to legibility, continuity, ease 
of execution, and appearance of the written pages. Although a standard 
style must be used in school in order that the teaching and practice may 
be uniform in kind, any systematic style that will stand the tests of legi¬ 
bility, rapid writing, and pleasing effect must be accepted as good writing, 
and if any one, a boy or girl twelve years old, may have acquired an indi¬ 
vidual hand that will stand the tests of good writing, it would not be wise 
to have him change it, but before accepting his hand the teacher must see 
to it, that his writing stands the test in the very highest degree. Persons 
who have, from copy or native ability, acquired such a hand, stand in the 
same relation to the course that one does who has finished it. After the 
regular exercises in the course have been completed in the fourth degree 
the pupil may begin the work of adopting modified forms of letters and 
even a modified hand. 

Letters are Modified by omitting the secondary strokes or elements, 
or substituting a dot or oval for them, all of which must be done with 
reference to the tests of good writing. 

The hand may be modified, by a little change of movement, to a 
perpendicular hand which is very pleasing and easily written when done 
by a naturally careful person. In writing a perpendicular hand, the 
connective element of the third principle may curve down instead of up, 
but great care must be exercised in this; the distinctive feature of the first 
and second principles must be maintained. All advanced movement ex¬ 
ercises or combinations should be confined to those practicing in this de¬ 
gree. 

All writing in this degree must be done by a free continuous move¬ 
ment, and rapidly, and be of the highest degree with reference to all the 
phases of good writing. The exercises are not taken up in any regular 
course by those practicing in this degree. Teachers may give instruc¬ 
tion and drill occasionally in the fourth or fifth degree work, to pupils 
working in the close movement course or third degree. 


Specimen 

From Wi liams and Rodgers’ “.Pen Written Copies.” By permission. 










Review. 

Page 6. What is writing? How many and what are the methods for writ¬ 
ing? What is the form of letters in each called? Which form is the basis for the 
other? How is it modified? How many styles of script have been devised? 
What are they? Which is used by all authors and teachers as standard styh ? 

Page 7 . Into how many general divisions is the course in penmanship 
divided? What are they? 

Page 8 . In Finished Letters, how many have the letter i in full line,to 
which dotted lines are joined to make another letter? How many have x, without 
the cross, in full line? How many ha,ve c in full line? How many have a? etc. 
In True Letters, how many have but one principle? How many have two 
principles? How many have three principles? In real letters, which letter has 
its main part to which a characteristic is attached made up on the connective 
slant? Wh it is the special characteristic of f ? What is the difference in its 
place on print and script? Can you tell why this difference? What element do 
the dotted lines represent? In the groups, what elements are omitted to leave 
the principles only? Where do the principles join? Which are joined by sharp 
turns? Which by short turns? What key-letters are represented by the 
principles? 

Page 9 . What real letters have entire principles? Which principles are 
found in real letters? Which principles should be termed primary principles? 
What secondary element is added to each real letter to make a finished letter? 

Page 10 . Into what two classes are the small principles divided with 
reference to the kind of strokes found in them? Into what two classes are they 
divided with reference to measurement? How many lines does a close extension 
show? How many lines does a free extension show'? What do these two lines 
cause? Which loop is necessary to show the characteristic of the letter? Name 
the letter. What element is the standard for measurement of extensions? 
Describe each principle. 

Page 11 . What is a standard principle? What is an extension? A close 
extension? A free extension? A special mark? A final element? Analyze the 
word cumin, annex. 

Page 12. Into how many sections is the chart divided? What kind of let¬ 
ters in section I? Ans. Simple stroke letters. What kind of letters in section 
II? r and z each has a complex, main stroke. How many divisions has the 
chart? How many letters in the first division? In the second? In the third? 
What principle only, is found in the first division? What principle has all the 
letters of the second division? What other principle has four of the letters of 
the second division? What principle is found in each of the letters of the third 
division? What other principle is found in four of these letters? How many 
letters have the first principle? The second? The third? How many have the 
first and second principles? The first and third? How many degrees of work is 
represented by the script words? Which column is for first degree? Which for 
second degree? Ans. Both columns. What is the difference in the words of 
the two columns? Ans. In length. How many specimens are outlined on the 
page? How many lessons? 


40 


SCIENCE AND ART OF WRITING. 


Page 13. Analyze mince. What is a group specimen? Ans. A 
specimen written at the end of a group for review. Analyze dance , immediate. 
What letters in the fourth and fifth lessons? Ans. Two-space letters, p extends 
down one and a half spaces. Analyze anticipate. What letters in ihe sixth and 
seventh lessons? Ans. Three-space letters. Analyze immediately. 

Page 14. What kind of letters in the eighth and ninth lessons? Ans. One- 
space letters. s and r are each one and one-fourth space high. Analyze groundless. 
The tenth and eleventh lessons have three-space letters, f is live spaces long. 

Page 15. What kind of elements in capitals? What is a main stroke? 
oval stroke? A curved stroke? A capital principle? What two kinds of strokes 
with reference to use? Define each. Define each principle. 

Page 16. State the distinguishing features of each principle. How are 
principles united to form letters? How are they joined? How are principles 
combined? When clipped? When broken? What are beginning strokes and 
final strokes? What is the first part of a principle? The second part? Learn 
to make the principles correctly. In studying the form of capitals, unite the 
principles carefully according to instructions, then -add the beginning and 
final strokes and practice over the form. After the analysis is thoroughly 
understood you may use your own form and arrangement of words for analysis. 
What are small loops in capitals the result of? 

Page 18. Into how many sections is the chart divided? What letters in 
section I? Whatjn section II? The letters in section I may be executed without 
raising the pen. Those in section II require execution in two or three separate 
parts, except last W. How many divisions of capitals are there? Ans. Four. 
What characteristic is found in the first and fourth? In the second? In the 
third? What three letters have a small loop at the base • which is purely the 
result of free movement? What three letters have a free trace of a capital 
stem? What one letter has a free trace of the oval stem? What four letters 
have a broken or complex stroke. What three letters have an extension? Study 
the line of capitals, one placed on another, as suggestive of other combinations 
which you may make. 

Page 20. The three lines of capitals are in order of difficulty of the three 
letters of each group to execute. Making a practice exercise of each line means 
to practice on it as a line until the teacher checks it. 

Page 21. Of what practical value is shading? Of what practical value is 
spacing? 

Page 22. What is a stroke as to execution? What regulates the rapidity 
of count? What is a close joining? What is a connective stroke? A main 
stroke? A final stroke? Explain the plan for counting. 

Page 23, What kind of a stroke is a capital principle? Which principle 
has one compound stroke and one simple stroke? See count for first C. What 
principles receive the count one for placing the pen? Ans. Ihose that begin 
at the top. In writing to music, when should the down stroke be made? 

Page 24. What is a resultant? Name and explain some resultants. What 
resultant in the letter 1? In a? In D? In B? 

Page 26. What is the controlling feature in learning to write? What 
position should we take for writing? What is correct penholding? 


REVIEW. 41 

Page 27. "What are the regular exercises? What constitutes a practice 
exercise? A specimen exercise? 

Page 28. When pupils are practicing their regular letter or word exercise 
they may practice as suggested on this page. The pen should execute by 
strokes, as if to count. 

Page 29. In what degree is this specimen marked? What per cent. ? How 
old is the pupil? What grade? Was the movement close or free? 

Page 30. What degree? What per cent? What movement? 

Page 31. What degree of the course is explained? What would be the dif¬ 
ference, if the specimen on the opposite page were written in fourth degree 
instead of third degree? On what should the pupil practice to learn free move¬ 
ment? What is the difference in counting for free movement and close move¬ 
ment. 

Analyze f / eemovement, written as one continuous word. This is a good word 
for practice. 

Page 32. What kind of exercises are the exercises for free movement? They 
are exercises on letters and words, writing them as units instead of by strokes. 
Movement exercises are solely for the purpose of developing action. The 
exercises on either side of the page should be mastered in the order as numbered. 

Page 33. This page outlines the same course that is outlined in Part I, but 
adds movement exercises, suggesting that an exercise should be made from 
each lesson preparatory to trying to write the lesson in free movement. The 
best exercises for capitals are the different joinings and combinations that may 
be made from the principles. What is the difference in practice on letters in the 
fourth degree and the third degree? 

Page 34. When it is found that a pupil cannot write well in free move¬ 
ment, what shouldhe do? Should any one try to learn to write in free movement 
from the beginning? Can one who is not a good writer have good movement? 
What divisions of movement as to kind? Will correct movement be developed 
by writing coi rect form? 

Page 35. What part of writing may be made in the hand or forearm 
movement? The finger movement? What is the difference between the line of 
fourth degree and the line of fifth degree? Where should the point of the pen 
be when the hand is in the most natural position. 

Page 36. Define the different kinds of movement. What is combined 
movement? Is it the most natural? What is muscular movement? 

Page 37. What is the province of the fifth degree in the course? Is this 
beyond the province of this book? Ans. So far as a full discussion and illus¬ 
tration is concerned, but it is discussed so, that by some study and application 
it nmjy be well worked out. Should any one be permitted to choose an individual 
hand? Yes, if he knows how to test his writing. Why have a standard style? 
How are letters modified? 


PAI^T III. 

To ttie Teacher, 

The instructions given here are intended to be in harmony with the 
instructions on the covers of our Portfolio Writing Books, but they in¬ 
troduce more ideas which the teacher may or may not use. We advise 
the teacher not to use any method of drill with which he is not in full 
sympathy or does not thoroughly understand, but we do unhesitatingly 
say that the plan of regular work as outlined is a positive necessity in 
order to attain the best results. 

We do not give question-and-answer illustrations of How to teach, 
for we look upon all such instructions as a presumption that the 
teacher has not the power to apply what he knows. We have endeavored 
to make the whole matter plain that the teacher may easily comprehend 
our meaning, but we leave the skill to present what he thoroughly knows, 
entirely with the teacher. 

Teachers cannot be too careful about the minutia of the work. 
Teaching and requiring accurate form must be carefully worked out with 
regular practice. 

The Introduction, and Part I of this book are intended for study by 
the teacher. Part I gives two analyses of letters for the purpose of assist¬ 
ing in understanding form, and in executing the form. It also outlines 
the course to be followed, and illustrates practice sheets and specimen 
sheets. 

FORM. 

You can not be too particular about teaching any branch; if this be 
said in a general way about other branches, it must be emphasized about 
writing. A pupil’s writing either encourages him or it discourages him-, 
and a positive encouragement, in whatever branch, helps in all the others, 
but a positive discouragement, in whatever branch, casts more or less 
gloom over all. In this particular, teaching writing is peculiar; it is made 
up largely of lines not more than one-ninth of an inch long, straight and 
* curved, and combined in different ways, and made on different slants; 
for these reasons, it behooves the teacher to study each letter very close¬ 
ly and be very explicit in teaching, and persistant in requiring each indi- 


CORRECTING FAULTS. 


48 


vidual pupil to execute each element, however small, very accurately 
Sometimes, a line, its own width out of place, makes a hideous fault when 
rapid writing is attempted, hence, writing must not be taught and accept¬ 
ed on the legibility and neatness when carefully written, only, but with 
reference to the application of the writing to every day work. But as 
there are so many complications about deciding this, the only thing we 
can advise, is to require the standard form with as much precision as pos¬ 
sible. 

Learn to think the letters in all their elements, the small letters into 
main element, which is a straight line on the main slant or a resultant of 
a straight line occa sioned by some peculiar joining of elements; connec¬ 
tive element, which is a curved line on the connective slant, joining the 
base of one main element to the top of the succeeding main element; ex¬ 
tension which is the continuation of the main element in a straight line 
or a resultant of a straight line when connected with some other element 
in some peculiar way; and special mark, and final element. 

Learn to think the capitals into main strokes, oval strokes or curved 
strokes, and learn to see the principles in the letters. 

If a pupil makes a faulty letter, it is sometimes difficult to explain 
where the fault is; this is a matter for close study also. 

In correcting a faulty letter, use the names of elements; if it be in the 
main element explain that the main element is curved when it ought to be 
straight, or that it is too near a perpendicular or too slanting &c. If it 
be in the connective element, explain that it is not slanting enough, or 
it is not curved enough &c. If it be an extension, explain that it is too 
long or too short, that the trace or retrace does not extend along the 
whole length of the extension and hence the principle is incorrect, that 

the extension is not on the correct slant &c. 

Note— All extension ' up or down are on tlie main slant except a lit le ext' n u m at the top of 
s. AH sideward extensions are rightward, horizontal, st aight line extendons from the apex of the 
3d principle except the one at the base of s, which is leftward and slightly curved. 

If it be the final element explain that it is curved too much or it is 
not made on the connective slant, or you, the pupil, anticipated the final 
element when executing the main element before it; hence, you made the 
two in one compound stroke which is wrong. 

The final element is ma e to a single count. 

If it be a special mark explain the fault. Each pupil must correct 
these faults, especially in small letters before he is permitted to begin on 
another exercise. 

Capitals should be explained and corrected with as much precision, 
but good writing does not depend so much on the exactness of their ex- 


44 


SCIENCE AND ART OF WRITING. 


ecution as it does on the exactness of the execution of small letters, for 
they are larger and generally stand disconnected, and a slight fault in a 
capital does not lead to such glaring faults as the slight faults in small 
letters do. 

EXERCISES 

An Exercise is any single letter, word, figure or specimen to be written. 

As to the manner of conducting exercises in school they should be 
distinguished as drill exercises and regular exercises. 

A Drill exercise is one conducted by the teacher, requiring the pupils 
to write precisely in unison. 

Regular Exercises are those of the regular course and are understood 
to be the individual exercises of the pupils, followed up one at a time 
until learned. 

As to intention, exercises are practice exercises or specimen exercises . 

A Practice exercise is the writing of a single letter or word, preparatory 
to writing a specimen containing the letter or word. 

A Specimen exercise is the writing of a page of words or sentences. 

As to kind,'exercises may be distinguished as figure exercises, letter 
exercises, word exercises or sentence exercises.' 

A Figure exercise is the writing of a single figure. 

A Letter exercise is the writing of a single letter. 

A Word exercise is the writing of a single word. 

A Sentence exercise is the writing of a single sentence. 

Exercises may also be distinguished as pen-holding exercises, position 
exercises or movement exercises. 

A Pen-Holding exercise is one so easy to execute that the pupil may 
make it and devote his efforts to pen-holding. 

A Position exercise is one calculated to interest the pupil so that he 
will be impelled to take the best position. 

A Movement exercise is one wholly intended to in duce and establish 
better action of the hand and arm in the use of the pen. 

The practice exercises, printed in italics, beginning on page n and 
ending at the top of page 20 , should be practiced in regular order by 
each pupil who should be passed from each exercise to the next by the 
teacher or some monitor, appointed by the teacher for that work, and 
each specimen, pointed in roman and headed Specimen , should be written 
into page when the practice exercises have been completed to the speci¬ 
men. This specimen page should receive a mark, at least 80 per cent, 
before the pupil is permitted to begin on the next practice exercise. 


FORMS IN WHICH TO PRACTICE. 


45 


POSITION AND MOVEMENT EXERCISES. 


I 

1 

2 

3 

4 

5 

67890 

1 etc. 










2 

1 

3 

5 

7 

etc. 

246 . 










3 

1 

4 





4 

1 

5 

9 








3 

2 






7 

2 

6 















4 

8 

3 







5 

1 

6 

1 

6 



6 

1 

7 

3 

9 

5 






3 

2 

7 

2 




1 

2 

8 

4 

0 






9 

4 

3 

8 




6 

2 

3 

9 

5 






5 

0 

5 

4 




1 

7 

3 

4 

0 













6 

2 

8 

4 

5 





7 

1 

8 

5 

2 

9 

6 

8 

1 

9 

7 

5 

3 

1 

9 




1 

2 

9 

6 

3 

0 


3 

2 

0 

8 

6 

4 

2 




5 

2 

3 

0 

7 

4 


6 

4 

3 

1 

9 

7 

5 




9 

6 

3 

4 

1 

8 


9 

7 

5 

4 

2 

0 

8 




3 

0 

7 

4 

5 

2 


2 

0 

8 

6 

5 

3 

1 




7 

4 

1 

8 

5 

6 


5 

3 

1 

9 

7 

6 

4 











8 

6 

4 

2 

0 

8 

7 



9 

1 

0 

9 

8 

7 

^54 

10 

1 

1 

1 

1 

1 

1 

1 

1 

1 


7 

2 

1 

0 

9 

8 7 6 


3 

2 

2 

2 

2 

2 

2 

2 

2 


9 

8 

3 

2 

1 

098 


4 

4 

3 

3 

3 

3 

3 

3 

3 


1 

0 

9 

4 

3 

210 


5 

5 

5 

4 

4 

4 

4 

4 

4 


3 

2 

1 

0 

5 

4 3 2 


6 

6 

6 

6 

5 

5 

5 

5 

5 


5 

4 

3 

2 

1 

6 5 4 


7 

7 

7 

7 

7 

6 

6 

6 

6 


7 

6 

5 

4 

3 

276 


8 

8 

8 

8 

8 

8 

7 

7 

7 


9 

8 

7 

6 

5 

4 3 8 


9 

9 

9 

9 

9 

9 

9 

8 

8 









0 

0 

0 

0 

0 

0 

0 

0 

9 

1 

Is termed the 0 ^-exercise straight. 


2 

is 

the 


exercise in 


two divisions. These are termed the ^^-exercise because it is the writing 
of one line at a time. 3 is the /w^-exercise for it writes two lines at 
once; each form has four places. 4 is the three-exe rcise, for it writes 
three lines at a time; it has nine places. The four-exe rcise has sixteen 
places; the y2W-exercise has twenty-five places, etc. Practice writing 
the figures in these forms omitting the ten’s figure of all numbers higher 
than nine, as illustrated in the above forms, and fill the places in the 
order indicated by the figures. 

After the forms have been well learned, then write any single exercise, 
as a letter or word, in all the places of any one of the forms in the proper 
order. Write a line of forms across the page, then another etc. See to 
it, that the lines and columns are kept straight. The count may be by 
stroke for letters or words written in these forms or it may be one count, 
free count, for each letter or word. 


46 


SCIENCE AND ART OF WRITING. 


Pupils who have poor action of the hand should write their regular 
exercises in 2. Pupils who need to be straightened up in position should 
write their regular exercises in 3, 4, or 5 etc., and be required to 
keep the work straight every way. 

Designs may be used for this same purpose. 

* 1 2 3 4 5 6 

o 

On 00 

CO VO 

O 

9 S f £ z 1 

This design is the square; the upper line is the first line, the right 
ine the second , the bottom line the third , and the left line the fourth. 

The square may be filled with any word or letter exercise two or 
more ways at once. Write first line then second, then another directly 
under the first and another directly under the second until the square is 
filled in two ways. The writing in the square may be varied in many 
ways, and the square may be of any size, containing any number of an 
exercise. 

No work should be accepted in the above exercises, that does not 
show the correct form of the letter or word, and great care in keeping the 
lines and columns straight. 

By practice in the forms on the opposite page or the design on this 
page, the pupil is forced to a continual adjustment of paper or arm which 
prohibits him from taking any lazy or crooked position. The work,he is 
required to do with both hands causes him to maintain an erect position. 
Pupils should learn the figures well before writing them in these forms, 
in the following order 1 4 7, o 6 9, 5 2 3 8. 

All such exercises have a purpose and when they are not needed, 
they should not be used. The one exercise straight is the only way in 
which writing is generally done. 

ORDERS FOR DRILL, 

Fill the form with 1, one and o, cipher alternately. Fill the form 
with the first capital principle and the second capital principle alternately. 
Fill the form with oval, fifth principle, made four tines in a place. 
These are merely suggestive orders. 


AzVritingr I^eriocL. 

(twenty minutes. ) 

(1) “Writing,” call by teacher. 

(2) Pupils get ready for writing. 

(3) Drill on some exercise or give some instruction four minutes. 

(4) “Pupils, write your regular exercises,” said by teacher. 

(5) “Attention,” by teacher who calls attention to some general 
fault. 

(6) “Regular exercises.” 

(7) “Close,” by teacher. 

(2) When the signal is given, it is well to time the pupils in getting 
ready, I have seen schools where books and all material were kept at the 
pupiPs desk, be ready in fifteen seconds after “writing” was called, at a 
time, irregular, when they were not looking for it; I have seen other 
schools where books were collected and distributed, be ready in one minute. 

(3) The teacher *may decide on a regular course of instruction and 
a regular course of drill, and alternate them giving instruction one day 
and drill the next. It would be well to take a lesson one day and explain 
the form of letters by analysis or illustration, and take the same lesson 
the second day and drill the pupils on writing the letters and a word by 
strokes to count. Then teach another lesson the next day and drill on it 
the following day; and pursue this course until all the lessons have been 
passed over without any reference to the regular exercises of the pupils. 
Then the same course of instruction and drill might be given over again 
very profitably. This part of the period should not take more than 
five minutes. 

(4) When this signal is given, each pupil is expected to know just 
what he was doing the day before and to begin with the same exercise 
and on the same sheet that he used the day before, if it were not finished. 
The teacher passes along the aisles observing the work of the pupils who 
are busy, only. No one should be allowed to stop to show his writing for 
it is his business to practice during the time, and it is the teacher’s bus¬ 
iness to see and criticise the writing and the manner of doing it. The 


SCIENCE AND ART OR WRITING. 


4 $ 

teacher should pass along hastily correcting a fault here, another one 
there and using the correct terms to indicate what element is faulty, or 
telling what may be wrong with penholding, position or manner of move¬ 
ment, and checking all exercises which pupils may have succeeded in 
making correctly. No pupil should be permitted to practice more than 
one letter or word at a time for a practice exercise. 

(5) Pupils are apt to fall into bad habits of position, and it is a 
good idea to call attention in the middle of the regular work and spend a 
moment in some kind of drill that will straighten them up and give new 
vigor. 

(6) The teacher should pass around a‘gain criticising and marking 
practice exercises only, as before. 

If the teacher does not feel inclined to give class instruction or drill, 
the whole period may be taken up with regular_exercises, and the teacher 
give all instruction individually, in a quiet manner. Pupils like this plan 
better than the other plan, for they prefer to be let alone with their 
regular exercises, but good class instruction and drill of a few minutes 
daily is productive of better results. 

(7) At the signal, “close” pupils should use blotters, wipe pens, and 
close inkwells, then proceed to put all oappr in the book, but finished 
sheets, and place books away, monitor should take up all finished sheets 
left on the desk; which should consist of practice sheets written full on 
both sides, and specimen sheets with a specimen written on one side only. 
The monitor separates the specimen sheets and practice sheets and places 
them on the teacher’s desk. The teacher makes observations about the 
practice sheets, and before the next period marks a per cent, at the top 
of the specimen sheets indicating the grade by the location of a check mark in 
the line of per cents. If the grade is not below the minimum, the pupil files 
his specimen in the specimen fold under the leaves, but if the grade is 
below the minimum the pupil begins the work of writing the specimen 
again. 

A monitor may attend to all collecting and marking and distributing 
sheets, but any one not satisfied with the marking may appeal to the 
teacher. Pupils may be permitted to practice writing at other times and 
place specimens in a No. 1 pocket at some convenient place in the room, 
where the teacher or monitor may get them and mark them and place 
them in a No. 2 pocket, where the pupils may get them at any time they 
wish. 


Primary— Practice and Study, 



50 


SCIENCE ND ART OF WRITING. 


SHEETS. 

Pupils should write their names on their sheets first, so that if any 
be found in a disorderly condition, they may be referred to the owner. 
The loose sheets must not be allowed to accumulate. Practice sheets 
should be put in the waste basket as soon as finished and examined. 

Pupils should be encouraged to make the very neatest practice 
sheets, this may be done by retaining the best for inspection by the 
school. 

The following page illustrates a design of a practice sheet by a 
pupil. One end is used for drill or irregular practice, and the other end 
for regular practice. 

MOVEMENT 

The less you say about kind of movemenlr^and the more time you 
devote to correct penholding, form and manner of movement, the better; 
in penholding, do not be too exacting but do not permit incorrect or 
unstable penholding. See penholding in General Instructions. 

Require accurate form written in stroke, and trust to this developing 
correct movement. 

COUNTING. 

If you have no other way of keeping time, count just enough for the 
the pupil to understand what is meant then require that movement of 
the pen that would indicate that the pupil is counting for himself; if you 
can have a metronome and keep it running during the period it is a good 
thing, or instrumental music of some kind is better. You must plan 
some skillful means to detect any lack of unison in drill, such as require 
four letters to count or time and when done hold up pens. 

SIGNAL. 

The simplest manner is to say—“Ready write” “one” “two” “one” 
“two.” The pupil begins with the count one, if the stroke be up, but if it 
be down, he begins with the count two. 


Iilustration of a Pupil’s Idea of a Practice Sheet. 


























alphabetical chart. 





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Portfolio WritirigT Books. 

There are three books in a series. They are so arranged as to make 
them convenient for lying on the desk, seeing the copy on one page, and 
for filing specimens under folders. A book consists of two leaves, two 
folders, and two covers, and twenty sheets of paper in a pad from 
which the sheets may be detached for writing. 

The folders close first then the leaves close over them; the pocket 
made by the folders closing in from the end and the leaves from the 
sides, is the specimen fold and no sheets except specimen sheets filed foi 
preservation should be placed in it. 

We also have a portfolio sample cover for the teacher’s desk in 
which the very high grade specimens may be placed for inspection and 
encouragement. 

After the paper in the book has been used, another small pad may 
be torn from our supply pad of fifty sheets which comes in an envelope 
separate from the book, and placed in the book to be kept lying where 
the first pad was fastened. Detached practice sheets may be slipped 
under the leaves between the leaves and folders; in this way the paper 
may be taken out for writing without opening the leaves, but sheets 
should be finished and sent to the teacher’s desk before detaching an¬ 
other sheet, hence, there will not be more than two or three sheets loose 
out of the specimen fold at a time. 

The page from which the pupil is writing should be first and kept this 
way until that part of the course is completed. It is not necessary to open 
the leaves to get ready for writing. In getting ready for writing the pupil 
opens the book, takes hold of the practice sheet under the leaf and slips it 
out, or detaches a new sheet from the pad, lying on the back cover. He 
opens the leaves and folders, only when he has received a specimen, 
marked at or above the minimum per cent for passing. 

The loose sheets must not accumulate. All sheets except two or 
three, at most, must be in the pad or in the specimen fold. 

The three books are distinguished as Primary, Intermediate and 
Advanced. The Primary book is for all beginners including those in the 
third grade or third reader. Only the small letters are made a part of 


54 


SCIENCE AND ART OF WRITING. 


the regular course in this book. The capitals are given in alphabetical 
order for learning them as they are needed by primary pupils. The 
Intermediate book has a complete course in writing with special instruc¬ 
tion and practice with reference to learning correct form in close move¬ 
ment. The Advanced book has the same complete course with instruction 
and practice with reference to applying free and rapid movement to stand¬ 
ard. form. 

MARKING. 

Practice exercises are marked by a check mark at the pupils desk 
when he has succeeded in mastering the exercise. See practice sheet 
with check marks. Specimen exercises are marked by a per cent, to in¬ 
dicate the efficiency of the pupil. Eighty per cent, should be the mini¬ 
mum mark for passing from the specimen to the next exercise. 

Our paper has the per cent, printed at the top of the page so that 
any per cent, may be shown by the location of a check mark. See. speci¬ 
men marked on*page 29. Specimens may be marked at the pupil’s desk, 
but on account of short time for the writing period it is better not to take 
the time for marking specimens. This is very easily done by collecting 
finished specimens each day and marking them before the next day; it 
may be done by a monitor. 

In an ungraded school it becomes necessary to mark the degree to 
indicate the ability to write, governed by age, former teaching and prac¬ 
tice, or the individual ability of the pupil in the special line of writing; 
and this is often best in a graded school. The place, on the paper, for 
marking the degree, is in the lower left hand corner by the figure 3. 
After the degree has been marked a time or two, it may be omitted until 
the pupil has advanced sufficiently to place him in a degree higher. The 
degree is marked on the specimen sheets onlv. 

The teacher must use his own judgment about the standard of pro¬ 
ficiency he wishes to adopt for each degree. 


Testim onials. 


A few recommendations. If you wish to read many others equally as 

good, send for our circulars. 


Topeka, KAnsas, May 24, 1893. 

This is to certify that for feu" years the Roudebush system of writing has been u ed in the 
Potwin schools with marked success. I can say without reservation that it br.ngs to me better re¬ 
sults than any system I have before used in my teaching experience of over twenty years. This sys¬ 
tem is particularly adapted to ungraded schools, as children can work on their writing without 
attention from the teacher. T! e work in this system does not become monotonous. Children en¬ 
joy the work and b 'Come much interested in it. The elements are few and simple and are easily 
classified. 1 take great pleasure in recommending it. Very respectfully, 

Eliza Nagle, 

Principal of Potwin School. 


Clay Center, Kansas, May 24,1893. 


The Roudebush Publishing Co., 

Topeka, Kansas. 

Dear Sirs:— In Clay Center schools, we have used the “Roudebush System” of penrnan- 
sh p one year apd the progress in that direc ion was remarkable. At the opening of the year we had 
a city full of pupils who coul : not wiite. At t ie close of the year we h d a city full of pupils who 
were excellent penmen. I cheerfully recommend the Roudebush System as the system. 

Yours truly, 

Geo. W. Kendrick, 

Superintendent of Schools. 


Concordia, Kansas, May to, 1893. 


E, E- Roudebush, 

Dear Str:—I n reply to your inquiry will say that jour writing system has given unpre¬ 
cedented satisfacti n. It is the comment among those patrons wuo have taken any pai is to ob¬ 
serve, that the advancement this year n penmanship has been without parallel. Our teachers most 
heartily agree in recommending it. It is not difficult to understand. 

" Respectfully, 

W. W. Reed, 

Superintendent of Schools- 


Neodesha, Kansas, May 23,1893. 


The Roudebush Publishing Co., 

Topeka, Kansas. 

Messrs,— Your system of writing has been in use in our schools for the past year and we 
are more than pleased with the results. The interest manifested by the pupils and the progress 
made in this branch by your system is remarkable. Our teachers are unanimous in their praise of 
the Roudebush System. Yours etc., 

G. W. Smith, 

Superintendent of Schools. 


Solomon City, Kansas, May 23. 1893. 


Roudebush Publishing Co., 

Topeka, Kansas. 

Gentlemen.-— We have been using your system of writing for a year and a half. I 
would not exchange it for any system I know of, and I am sure we have made more progress in wiit- 
ing than we could have made in double the time, using any of the old systems. It is not page after 
page of worthless scrawls, but instead, the pupils soon have a desire to learn to write, and they do 
learn. Yours very truly, 

L. H. Wishard, 
Superintendent of Schools. 






56 


SCIENCE AND ART OF WRITING. 


Arkansas City, Kansas, December 17,1891. 

Messrs. Roudebush Bros., 

Topeka, Kansas, 

Dear Sirs:— We have used your System of Penmanship in our schools f >r three months, 
and we are ready to pro: ounce it a decided success. I wish particularly to endorse the plan of in¬ 
struction and drill. It is so devised as to meet in detail the d faculties of teaching the subject. If 
secures the intelligent work of each individual. It secures and retains the pupils in erested 
attention by.having constantly befcre him the particulars of his own improvement and failure. The 
pupil constantly sees and feels that his advancement depends on his own execution. The teacher 
also is hel l as directly responsible for criticism as the pupil for his work. 

I heartily endorse the system because it secures interested work from the pupil; because it 
secures good teaching from the teacher; and because it is economical. 

Respectfully, 

D. R. Boyd, 

Supt. of Schools. 


Office of Board of Education, Topeka, Kansas, June 9,1891. 

To Whom it May Concern: 

We have used Roudebush’s Writing System in the Topeka Public Schools during the 
past year- I regard it as an excellent system because it is the only system by which the teacher is 
compelled to teach the subject. It is logical and correct in its methods. Our teachers like it and 
our pupils have made rapid progress. Very Respectfully, 

John M Bloss, 

' Supt. of Topeka Schools. 

Topeka, Kansas, April 18,1891. 

Roudebush’s System of Writing has been thoroughly test ’d in the schools of this county this 
year. It has been found to fulfill every promise made by the authors. It was introduced in my 
home district, where two of my children attend school, and I am quite positive that ihere has never 
been such progress made since the district was organized. Every teacher in the county who has 
used the system intelligently has succeeded in awakening an unusual interest in the subject of 
writing and has secured satisfactory results. It is the only system published that places writing by 
the side of other branches, and makes it possible for every teacher to teach writing successfully. 

Josiah Jordan, 

County Superintendent. 


Topeka, Kansas, June 3,1890. 


To Whom Presented: 

I have examined Roudebush’s Writing Charts and the pi m therein followed is practical 
and logical. I have also had opportunity of noting the progress made in wr ting by p ipils who have 
been instructed according to tfiis system, and have found the progress of such pu .ils unanimously 
and remarkably great. The Roudebush brothers are reliable and honorable men; and as such I 
recommend them to all to whom this may be presented. 

Geo. W. Winans, 

State Sup’t Public Instruction. 


Hiawatha, Kansas, October 10,1891. 


To Whom it May Concern: 

We have adopted and are now using The Roudebush Writing System, and I most cheer¬ 
fully state ttat after carefully testing it in our schools I am convinced it is the best system for 
teaching writing yet devised. It has aroused great interest on the part of the pupils and I con¬ 
fidently look for results irom it that I have never obtained from any other sys em. It is simple, 
jogical and complete and I most heartily recommend it- Very truly, 

E. C. Perkins, 

Sup’t Hiawatha Schools. 

Topeka, Kan., May 30,1890. 


To Whom it May Concern: 

I have carefully examined Prof. Roudebush’s Writing Charts and take pleasure in com¬ 
mending them. As Superintendent of the city schools of Topeka, I became acquainted with hi3 
system of penmanship and know that it was marked out in the school room and is the result of 
actual experience of a practical school teacher. D. C. Tillotson, 

Formerly Sup’t Topeka Schools. 







PLAICE LIST 

OF THE 

Roudebush Writing System. 

RETAIL PRICE. 

Three-Book Series, ...... 1 O Cents Each. 

primary, for first, second and third grades. 
intermediate, for fourth, fifth and sixth grades. 
advanced, for all grades above the sixth. 

Each book contains 20 sheets of paper, or \ x / 2 
times as much writing surface as a copy book. 

Writing Package, —A 60 lb. Envelope containing 

50 Sheets of paper, .... IO Cents Each. 

Tills paper is for practice and specimens, and is especially prepared, 
ruled in three ways same as in Three-Book S ries, and is equal in writing 
surface to 31/2 copy books. 

The Writing package is to be used after the 20 
sheets of paper have been used up. 

SCIENCE AND ART OF WRITING— Paper Cover - .75 

Flexible Cloth $1.00 

'BLACKBOARD ERASERS —25 cents each, $1.50 cents per dozen. 

Discount on quantity. 

These erasers have adjustable holders and reversahle surface which makes 
them equal to three ordinary erasers. * 

BLACKBOARD SLATING— Pint, $1.25; Quart, $ 2; Gallon, $ 6 . 

This slating is of the very best, h:?s been used for many years, and contains 
the best alchohol and can be put on by following printed directions which accom- 
pai y the slating. 

We manufacture every thing we handle and will guarantee satis¬ 
faction. 

Patronize a home institution and you will help us and we will help 
you by giving you more and better goods for your money than any other 
firm. 

Any of the above articles (except slating) will be sent prepaid upon 
receipt of the above retail prices. The slating will not be prepaid. 
Address, 

THE ROUDEBUSH PUBLISHING CO.. 

112 EAST 7TH STREET, TOPEKA. KANSAS. 









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